Nase

check this out: some good inspiration for DIY midi guitar. it's not rocket science, but you'll really enjoy having done something like this yourself. the libraries are totally ok, but this little tut hits closer to my heart.

ultimate guitar kit by gregjazz is still the best lead guitar in soundfont format. just saying!1 (gregjazz is orangetree b4 he gone commercial) it's my one soundfont for lonely island if i could just pick one. it's really good. those slide releases at high velocity that's some good shit man. uh yea

man, this is very tangential but whatever: just after writing the last post, i fired up fruity loops and did this random dissonant piano thing with a soundfont, and then thought a strings line would be nice with it; i remembered i had bought this physical modeling cello months or years ago, which sounded very cool but took away 50% cpu on its own! so i ditched it back then. i just put it back in my vst folder and completely lucked out on writing a lively sounding part with it. loaded up a breakbeat, and it's kinda going in the direction now of what venetian snares did with strings and breaks on that one album. it still takes up half the cpu but who cares if it just stays piano, cello and beats. awesome! one little bit of buyer's remorse curse lifted from my shoulders, it would seem! chheerss

writing really good (sounding) stuff is all about personalisation, and that is basically achieved by genuinely playing with what you got lying around. i think that's a perfect term. you play with your stuff, and it gets as involved as playing with an instrument, only that it works a bit different with sequencing. maybe you're more diligent or disciplined or nitty gritty or chaotic and happy go lucky about the way you play, but it all results in immersion and flow, and then cool stuff happens. i have trouble with pristine, complex libraries and such. i feel like they're playing me rather than i play them, and my buyer's remorse extends to me even feeling that i'm not worthy of them, because i don't get much done with most of them. i'm happy with the few big products i ended up using a ton. otherwise, i really dig soundfonts and such. because you HAVE to personalise them, else it sounds like crap. who am i to talk in this thread though! i never composed for anything noteworthy, i'm just verbalising my ten+ years of VST related OCD, buyer's remorse, and creative ruts here so, generic advice resulting from this questionable experience: if you buy something big, research it well beforehand, be certain about it, and then try to love it and make some beautiful shit with it before buying anything else! even though it's virtual, it's very similar to the guitar standing in your bedroom or whatever. you either love it to bits, or it may become this thing loaded with frustration and missed potential.

i am sure that frank zappa on his synclavier in the late 80s could have done a cool OST for pretty much any game. it would've been interesting, at any rate. he did the bedroom producer thing atleast 10 years before any of us. only that it cost $100.000++++ back then. the synclavier had its own qualities and intricacies that are incomparable with later tech, i guess (i heard it`s more like resynthesis), but basically, it`s soundfont v0.1. we have way too many options. we really only need time and experimentation. i mean, if you wanna do it with heart. if you wanna do it with speed, you need the libraries. easy, right?

that's a whole bunch! did you do all of those yourself? so much work man.... all i ever did was make my own Secret of Mana kontakt patches, way back in 2009. do you have a soundfont you think you got 100% right? making a game soundfont is like a meticulous game in itself, and getting 100% or close enough is no small feat...some loop points are real bitches. there's a relatively new vst out by plogue, and that just takes all the correct loop points from the .spc's. it's very nice, but i don't really wanna use that. i prefer using soundfonts in FL. so, thank you xouman!

it is the year 2022, the future, and the world is running out of topics. a dystopia of digital boredom. the zombies of this forsaken age don't need "BRAINS"... they're starving for "CONTENT!" in this barren landscape of "been there done that", a topic like this becomes a singularily tasty morsel of "oh gee, i never thought about that."

yeah, i figured as much. be proud of what you've done. and that's exactly the idea with "prog", always a lot of options to carry it different places. what i'm talking about would be a quite different tune.

i personally think the heavy distortion on the guitars and the overall hard rock sound right from pretty much the start don't go all that well with the theme. my first impulse really is that this level of intensity would work better at a later point in the arrangement, to top it off and raise it to another level. it all sounds quite good, make no mistake, but i think it's too much, too early, for this theme. i like the dynamic arrangement. it's quite lively. a lot of good stuff here. but i'd really prefer a more gradual buildup as sonic intensity (and distortion) goes, for this theme. i think 0:17+ could hit really hard somewhere in the 2:00+ area if you prefaced it with an earlier more acoustic, or just less distorted, version. the 15 sec intro is great, btw. but the field theme in full metal armor right after that.....it's over the top in a way that's thematically jarring, to me. maybe listen to some Gentle Giant or something for inspiration...to get some additional ideas on how to transmogrify the main theme without fully metallizing it right away. well, just an idea.

"menial gymnastics". i just made that term up.

i'm interested! i redownloaded a bunch of snes sf2s recently, and i recognised that blitz didn't get the fingered bass loop right! it's really not easy without reference. sd3 would also be much appreciated! but your upload service does an error 403 to me. think you can host it elsewhere?

my favorite part of descent was always the final cutscene bit where you escape the asteroid, and everything's exploding right behind you. a cool little adrenaline rush with a most basic story telling element...just feels good. track sounds solid, just not my type.

all hail coop!!! FOK YEah i am in!!!!! i -also- got credentials!! http://olremix.org/mp3/dasaten,_Nase_-_Merry_F-ing_Christmas(Tetris).mp3 pick me!!!! i will ask dasaten if he's still performing on recorder.

developing "three finger technique" with a designated finger for scrolling seems more likely if whatever you do involved a lot of scrolling. but judging from a quick test, alternating between index and middle finger while scrolling down/up just feels kind of satisfying. being used to that, using 3 fingers instead for a fixed purpose, like you do, seems a little "stiff" to me. maybe somewhat related, i'm a lefty and also like to switch knife and fork while eating, which is called the "european way" i guess? there's something gratifying about switching function of the hands or individual fingers, i suppose. it's definitely a matter of "style", and who knows, it might offer some deeper neurological insight. i definitely use my ring finger for scrolling 5%, also. 45% index, 50% middle, 5% ring. armchair analysis: i probably like variety. but not enough to employ the pinky at all.

it's pretty "random". time signatures make limited sense here. i'd say loop the structure based on the repeating drone and the longer "modem motif", and jam on it. my first idea would be to integrate it into a 4/4 groove in some way and see what interesting things might come out of that. treat it more as a soundbit that could fit in with whatever beat you juxtapose it with in funny ways.

i can't finish shit in the last couple years, but i like this one.

the percussion sound sounds like a finger snap to me, and i don't like it in context with the rest when i interpret it as such. it's just interesting because when i don't interprete it as a finger snap, it's really not jarring at all; but when i do, it feels out of place. it's sorta psychology/psychoacoustic. simple piece, but nice. reminds me i wanted to try some piano sequencing again, for a long time.

maZE, i just wanted TO TELL yOu, my turtle wave REmaster criticism is in GOOD huMoR ofCoURSE (tHOUGh deaD sERIOus); YOU'RE still ONE OF The MOsT INSPiRATIOnal muSICIaNS I eVER discOvereD ON THE net, aND i draW STRENgTH frOm the DISpLAY oF yOUr iNGenUITy, wHeNEVeR You HApPeN uNTO my Mp3 PLAYER!!! rock on, you soul you!

the POint aboUT using your DAW optimally is great InDEED: imAGINE if all composers for SNES, N64 And SiMILar CarTrIDGE BASeD, sAmpler UsiNG, spAcE SaVinG midi-like sySTemS WERE OFFEReD TO REMasTer THeIR OsTs fOR A FAntaSy consOle that ofFERs All THe miXING wiZArDRY of SAY, a modern cubase, But the BASe sAmPles anD SAmPliNg funCTIonaLitY HAVE to stAy the Same. IT WOULD BE quite interesting. (there's ReAlLy A KOBOLD INSide MY KEyBoARD DoINg capsLOCK sHenaNigANS, I KiD yoU NOT; bUt I aM running with it.)

i'm musing over doing something with a good soundfont and one game OST, in the future. i really think the whole "frankenstein megamix" M.O. is very interesting when paired with allowing remixing of any track from a given OST that everyone has passion for. feels very "sky is the limit", if you ask me!

Coolio! Yeah, just grab it. Myself, i waited with claiming my turn until i did something for half an hour and was sure enough i could finish it; but as long as we don’t have a definite rotation or permanent waiting list, there’s really no perfect way to go about this. funny you’re taking a liking to the chaos soundfont! In all honesty, i wasn’t that impressed with it, i was simply amused by the name, because my naming of the collab was also purely chaotic. that said, good old GM soundbanks are a wonderfully rich and deep subject; i think you cannot truly estimate the goodness of one, unless you have made some actual music with it. It’s like with the old Snes and N64 OSTs….the sounds have to gel nicely as a whole, and that’s partly down to the given sounds, and partly down to the magic you work.

Ho boy, hope i didnt kill it. Audiomancer’s calmer section seemed a good segueway into something (anything) different. Could’ve picked up on that. I spose i was just happy i had a little creative burst. But we’ll see. another thing, folks….how do you feel about doing something similar, but a vg remix? That’d be one way to tie everything together more easily!

oh yeah....i'm very sorry audiomanca! ...but i just found out that there's an actual Chaos.sf2! https://github.com/surikov/webaudiofontdata/blob/master/sf2/Chaos.sf2 very sorry, but we have to officially take that one. (yeah, it's only 12 MB, i know. but it's called CHAOS.sf2 ffs!!!!!! too good to pass up.)

ok it looks like i'm doing sumthing! edit: ok! (and for the love of god, do whatever the hell after this. i just had too much fun forcing the silly synth hook back in.) BLORGx_5.flp

i wouldn't say "notation carries much more information". it's more that the information that's there has been finetuned for centuries to display a spectrum of values and expressions very sensically and effectively, pertaining to an agreed upon understanding of what's music(al). it's certainly very good for sight reading+playing music, on an instrument. in midi terms, velocity is often articulation, or there's keyswitches involved. or aftertouch. yeah, it's nowhere as intuitively understandable as notation. but the information is there, and it's basically more information. it's just not presented very intuitively, and that's something that may be perfected down the road. hm, i'll just use this as another opportunity to highlight how awesome the "slide notes" in FL Studio are - not for readability, but for sequencing performance regarding everything pitch related, they are unsurpassed. you can't do this with notation. but you can't easily sight read a complex fruity loops piano roll, either. pros n cons. just saying, unlike standard notation, not every piano roll is the same. they differ.